Lepic, account

Ludovic-Napoléon Lepic

(1839-1889)

Account

of his exhibited works

 

Introduction:
On this page you will find an account of what works Lépic did exhibit at the 1st and 2nd ‘impressionist’  exposition and at the Salon. For general information on Ludovic Lepic and the used sources, see the main page. See links for the pictures exhibited in 1874, 1876 and at the Salon.

 

The first ‘impressionist’ exposition 1874:

  • catalogue numbers 74-80
  • in total Ludovic-Napoléon Lepic exhibited 7 works, 4x watercolours and 3x etchings;
    • 3x indication of place
    • 0x indication of time, season or weather
    • 1x a study
    • 0x loans (appartient à…); .
  • See for the suggestions of Adhémar (R87,p240), Moffett (R2,p121) and Berson (R90II,p8+23)

Reviews:
Burty
(1874/04/25) ‘The more moderate and no less valiant works of Messrs. Colin, Rouart, Boudin, Lépine, Ottin fils or de Nittis, the watercolours of Mr. Lepic, show how much is to be expected from this school. (R87,p262)
Lepelletier (1874/04/19) mentions the ‘marines’ made by M. Napoléon Lepic (R90I,p24).
Léon de Lora (1874/04/18) mentions the ‘marines’ made by M. Napoléon Lepic (R90I,p27).

Catalogue 1874: (R87,p240;R2,p121;R90I,p6;iR1)

1IE-1874-74, L’Arrivée de la marée à Cayeux, aquarelle
Eng.: The Coming of the Tide at Cayeux, watercolour. Adhémar, nor Moffett, nor Berson give a suggestion. Berson refers to reviews of Lepelletier and de Lora (R90II,p8). As a very uncertain suggestion I render: 1871, Sur la plage après la tempête (Bords de mer, plage à marée basse), wc gouache, 28×39, A2019/03/27 (iR17;iR13;R2,p162)

1IE-1874-75, La pêche, étude en pleine mer, aquarelle
Eng.: The fishing, study in the open sea, watercolour. Adhémar, nor Moffett, nor Berson give a suggestion. Berson refers to reviews of Lepelletier and de Lora (R90II,p8). As a very uncertain suggestion I render: 18xx, Seascape at Beach, Fishing Boats Returning under a Late Afternoon Light, wc?, xx, xx (iR94;R2,p121;R90II,p8)

1IE-1874-76, Golfe de Naples, aquarelle
Adhémar, nor Moffett, nor Berson give a suggestion. Berson refers to reviews of Lepelletier and de Lora (R90II,p8). To compare I suggest an oil painting with the same theme: 1862, La baie de Naples par temps clair, 94×128, A1997/12/05 (iR13;R2,p121;R90II,p8). Compare: S1875-2498, Le golfe de Naples, vu du cours Victor-Emmanuel; aquarelle.

1IE-1874-77, Le départ pour la pêche du hareng, aquarelle
Eng.: Leaving for the herring fishery, watercolour. Adhémar, Moffett and Berson refer to an oil painting Le départ pour la pêche à Berck, in the Musée de Valenciennes (R87,p239;R2,p121;R90II,p8). This work was exhibited in Berck in 2013.

1IE-1874-78, L’Escalier du château d’Aix en Savoie, eau-forte
Eng.: The Staircase of the Castle of Aix en Savoie, etching. Moffett refers to the Cabinet des Estampes. Berson is more precise: 1863, etch, 41×38, BNF (R90II,p8+23). Compare Beraldi ‘intérieur de château’ (R85IX,p143,no3).

1IE-1874-79, César, portrait de chien, eau-forte
Eng.: César, portrait of a dog, etch. Adhémar, Moffett and Berson refer to a work in the Cabinet des Estampes, 1861, César, etch, 32×24, BNF (R87,p240;R2,p121;R90II,p8+23;R85IX,p143,no1). It is an etch made after a work of Jadin. Lepic renders the sub-title ‘le chien à la cravache’ (the dog with the whip) and calls it his first serious work (aR3,p89). 

1IE-1874-80, Jupiter, portrait de chien, eau-forte
Eng.: Jupiter, portrait of a dog, etch. Adhémar, Moffett and Berson refer to a work in the Cabinet des Estampes, 1861, Jupiter, etch, 35×26, BNF (R87,p240;R2,p121;R90II,p8+23;R85IX,p143,no1). It is an etch made after a work of Jadin. 

 

 

The second ‘impressionist’ exposition 1876:

  • catalogue numbers 102-137
  • no. 124 contained of 5 watercolours and no. 126 and 127 of two
    no. 135 contained of 2 frames with etchings, so at least of 4 etchings and I assume 8 etchings
  • in total  Lepic exhibited 45 or 49 works, of which 23 oil paintings, 15 watercolours, at least 7 etchings and probably 11 etchings
    • 25x indication of place: Berck (no. 105+106+112), Somme (107+127), Manche (114+115), Cayeux and surroundings (109+123+130), Napels (125+131+132), Holland (135+136)
    • 7x indication of time, season or weather: moonlight (no.102+114+136); mist (103); sun (115+129); night (116)
    • 4x a study
    • 1 loan (appartient à…): no. 134 M. Arsène Houssaye
    • 11 pictures depict (indirectly) a beach: no. (104 +)105 + 106 (+ 108) + 190 + 112 + 116 (+120) + 122 (+ 127 (2x)
      9 or 10 pictures depict boats: no. 104 + 107 + 108? + 110 + 112 + 117 + 119 + + 127 (=x2) +131
  • Moffett only gives a suggestion for no.134 (R2,p162), Berson also for no.136+137 (R90II,p56+39/40).

Reviews:
L’audience
(1876/04/09) reviewed ‘M. Lepic presents a numerous collection of marine paintings, watercolours and etchings; this artist wanted to prove the flexibility of his talent and he did it in such a way as to conciliate the esteem of the most numerous amateurs, his large canvas: Forcé, deserves a special mention.’ (R90I,p53)
Emile Blémont (1876/04/09) reviewed ‘Mr. Lepic also has beautiful etchings, one of them depicts with originality the Ballade des pendus by Théodore de Banville; he also exhibits watercolours showing various aspects of Pompeii, remarkable seascapes and a large “Sanglier forcé par un temps de neige” (=Wild boar forces in snowy weather) (R90I,p63).
Simon Boubée (1876/04/05) reviewed ‘M. Lepic is also a moderate in the impressionist opposition. He also exhibits a number of truly remarkable paintings. His seascapes are of a beautiful sentiment, and his Wild Boar seems to us a work recommendable in all respects. (R90I,p64).
Louis Enault (1876/04/10) reviewed ‘On this list of intransigents, who will not, I imagine, submit their works to the jury that now operates at the Champs-Elysées, I find the name of an artist they have no right to claim as one of their own. M. le Comte Lepic can be a searching and daring painter; but he is not an intransigent; He has traditions that he does not deny, and for a long time he has appeared in our regular exhibitions with undeniable honour. His large study of wild boar is of rare vigour. Forced into his hole and ready to make a stand, the old loner is superb in his daring, courage and resolution. I feel sorry for the first bloodhounds who will try to cuff him. This one is really an intransigent, but not the artist who painted it. Oudry and Desportes would accept him as their successor. The laborious researcher has given no less than 35 pieces to the exhibition in the rue Lepelletier: paintings, watercolours, engravings, nothing is missing; – neither the variety nor the choice! One will notice especially the restorations of Pompeï, of a serious interest.’ (R90I,p83)
E.F. (1876/04/21) reviewed in the ‘Moniteur des arts’: ‘Count Lepic’s exhibition is very varied and interesting. His wild boar forces in the snow, his luminous and clear seascapes, his picturesque and heartfelt watercolours, his etchings of such rare power, everything calls for and holds the attention. The beaches of the Channel, the ruins of Pompeii, the cliffs of Le Tréport and the mysterious landscapes of Holland have never had a more moving and intelligent interpreter than M. Lepic. (R90I,p84).
G. d’Olby (1876/04/10) reviewed ‘Thus M. Lepic exhibits, for his part, an important batch of paintings and studies, which would be accepted everywhere, even at the official Exhibition, as serious works worthy of attention. Le Grand Sanglier forcé dans sa bauge (=The Great Boar forced into its crib) is painted in the most picturesque conditions. A member of the Institute would not find anything wrong with it, except that the drawing is perhaps a little too affirmative. Next to this painting of great decorative effect, M. Lepic has studies of the beach and the open sea, at different times of the day, of a very accurate feeling and of a truly salty taste. The effet de brouillard en mer gives an illusion; the sky and the water merge, without being confused, in a milky tone of a very fine harmony.’ (R90I,p99).
Emile Porcheron (1876/04/04) reviewed ‘M. Lepic has a whole series of marines which, from the point of view of colour, are not absolutely without merit, but what an arrangement! We have the wave (vague), the buoy (bouée); but the funniest thing is a composition that we will call The Pipe and the Mast (La pipe et le mât): on the left, a corner of the bow of a fishing boat, a pipe on the planking and two or three swallows on the end of the bowsprit, sky and sea in the background; and this is a picture!’ (R90I,p102)
Alex Pothey (1876/03/31) reviewed ‘Every year, Mr. Ludovic Lepic spends five or six months on a laying ship, where he learns about the life of the people at sea. The studies, made on the open sea, which he brings back from these excursions, have a very great character.We mention the Bouée rose, the Effet de soleil, the Beaupré and the Christ sur la plage de Berck. M. Lepic exhibited, in addition, a large hunting painting representing a strong Boar, in snowy weather, which comes to die in an undergrowth.’ (R90I,p104)
The review of Gustave Rivière (1876/04/13) was reprinted in the review of Pierre Dax (1876/05/01): M. Lepic has very beautiful etchings and a remarkable dog’s head by the process he has invented. (R90I,p71).

Catalogue 1876: (R2,p162/3;R90I,p49;iR1)

2IE-1876-102, L’Ile de Vachereu (clair de lune)
Eng.: The Island of Vachereu (moonlight). Berson omits this work, which means there were no reviews (R90II,p39). I couldn’t find any suggestion.

2IE-1876-103, Effet de brouillard en mer
Eng.: fog effect en the sea. Berson refers to the review of d’Olby (R90II,p39), who reviewed ‘the sky and the water merge, without being confused, in a milky tone‘ (R90I,p99). Maybe: 18xx, Effet de brouillard à Berck, xx, ChM Boulogne-sur-Mer (iR127;R2,p162;R90I,p99;M203). Compare also: SdAF-1882-1651, Effet de brouillard dans les mers du Nord.

2IE-1876-104, Étude de bateaux
Eng.: study of boats. Berson omits this work, which means there were no reviews (R90II,p39). There are many pictures in which Lepic depicts boats. See also no. 112. But none of them typically sees like a study, so I don’t have a specific suggestion.

2IE-1876-105, La plage de Berck
Eng.: the beach at Berck. Berson omits this work, which means there were no reviews (R90II,p39). Lepic made many pictures of the beach at Berck. I render two options: 1877-79ca, La plage de Berck à marée basse, 60×82, MdF Berck (iR6;iR15;iR11;iR13;M202); and:

2IE-1876-106, Le Christ de la plage de Berck
Eng.: The Christ of the beach at Berck. Berson refers to the review of Pothey (R90II,p39), who just mentions the work (R90I,p104). Maybe it refers to a calvary, like in: 18xx, Un calvaire à Cayeux (Somme), etch, xx, BNF (iR40). I just render a beach of Berck, with maybe in the distance there is a calvary discernable: 1876, The beach at Berck, xx, PBA Lille (iR94).

2IE-1876-107, Bateaux de la baie de Somme
Eng.: Boats in the Bay of the Somme. Berson omits this work, which means there were no reviews (R90II,p39). Compare: 1888ca, Baie de Somme, le matin, 89×51, A2012/03/30 (iR11;iR13;iR1;R2,p162). Compare: S1876-1298, Le calme dans la baie de Somme.

2IE-1876-108, Un brisant (étude)
Eng.: a breaking / crushing (study). Berson omits this work, which means there were no reviews (R90II,p39). Compare: S1877-1329, Bateau cassé= 1877ca, The Smashed Boat, 17×25, MdF Berck (aR4=M202;iR6;iR35;iR4;iR1), maybe 2IE-1876-107 was a preliminary sketch for S1877-1329. Compare also: 1879ca, bateau cassé, no 1 bis, xx, MdF Berck (iRx;M202;R2,p162;iR1).

2IE-1876-109, La plage de Hourdel
Eng.: the beach at Hourdel. Le Hourdel is a small commune near Cayeux-sur-Mer (iR9). Berson omits this work, which means there were no reviews (R90II,p39). As a very uncertain option I render: 18xx, Barque échouée sur une plage, 60×90, A2013/10/04 (iR13;iR11;R2,p162).

2IE-1876-110, Le beaupré
Eng.: bowsprit. Nl.: boegspriet. Berson refers to the review of Pothey and Porcheron (R90II,p39). Porcheron probably calls it ‘La pipe et le mât’ (Eng.: The pipe and the mast) and describes it as ‘on the left, a corner of the bow of a fishing boat, a pipe on the planking and two or three swallows on the end of the bowsprit, sky and sea in the background‘; Nl.: links, een hoek van de boeg van een vissersboot, een pijp op de planken en twee of drie zwaluwen op het uiteinde van de boegspriet, lucht en zee op de achtergrond’ (R90I,p102). Pothey just mentions the work (R90I,p104). I couldn’t find a suggestion.

2IE-1876-111, Forcé !
Nl.: gedwongen. Berson refers to the reviews of L’Audience, Blémont, Boubée, Enault, E.F., d’Olby, Pothey (R90II,p39). Blémont and E.F. describe it as a ‘wild boar forces in snowy weather‘ (R90I,p63+84). Boubée also writes about a ‘wild boar’ (R90I,p64). Enault reviewed ‘His large study of wild boar is of rare vigour. Forced into his hole and ready to make a stand, the old loner is superb in his daring, courage and resolution. I feel sorry for the first bloodhounds who will try to cuff him.’ (R90I,p83). G. d’Olby also writes about ‘The Great Boar forced into its crib’, as if this was the full title (R90I,p99). Pothey describes it as ‘a large hunting painting representing a strong Boar, in snowy weather, which comes to die in an undergrowth.’ (R90I,p104). I couldn’t find a suggestion.

2IE-1876-112, Bateaux de la plage de Berck
Eng.: boats at the beach of Berck. Berson omits this work, which means there were no reviews (R90II,p39). Lepic depicted the beach of Berck very often including boats on or near it. I render some (very) uncertain options: 1876ca, Boats on the beach of Berck, xx, FAM San Francisco (M30;iR64;iRx;R2,p162); and: 1877-79ca, Plage de Berck, au pliant (barques de pêche échouées sur la plage de Berck), 74×93 MdF Berck (iRx;iR6;iR35;iR313;R2,p162;M202); and: 1879ca, plage de Berck, no 5, xx, MdF Berck (iRx;M202;R2,p162); and: 1879ca, Beach at Berck no.11, xx, MdF Berck (iR6;iR94;M202;R2,p162).

2IE-1876-113, La Bouée No 2, baie de Somme
Eng: the buoy. Berson refers to the review of Pothey  and Porcheron (R90II,p39), they just mention ‘La Bouée’, but Pothey adds ‘rose’. To compare I render two designs for diner plates: 1889ca, Faïenceries de Creil & Monterau no 78, ink wc, 35×27, Creil MGJ (iR23;R2,p162;R90II,p39); and: 1889ca, Faïenceries de Creil & Monterau no 102, ink wc, 35×27, Creil MGJ (iR23;iR1;R2,p162;R90I,p104). Compare also: SdAF-1887- 3166, La bouée; nord de Cayeux

2IE-1876-114, Clair de lune en mer (Manche)
Eng.: moonlight on the sea (Manche). Berson omits this work, which means there were no reviews (R90II,p39). I couldn’t find any suggestion.

2IE-1876-115, Effet de soleil (Manche)
Eng.: Effect of sunlight (Manche). Berson refers to the review of Pothey (R90II,p39), who just mentions the work (R90I,p104). I couldn’t find any suggestion.

2IE-1876-116, La plage de Cayeux (effet de nuit)
Eng.: the beach at Cayeux (effect of the night). Berson omits this work, which means there were no reviews (R90II,p39). I couldn’t find any suggestion.

2IE-1876-117, Le halage d’un bateau
Eng.: boat towing. Nl.: sleepboot. Berson omits this work, which means there were no reviews (R90II,p39). As a very uncertain suggestion I render an undated work: 18xx, Le remorquage (towing), 125×97, MdF Berck (aR4=M202;iR13;R2,p162).

2IE-1876-118, Un cabestan
Eng.: a capstan. Nl.: bandspanningsregelaar / kaapstander / gangspil. Berson omits this work, which means there were no reviews (R90II,p39). I couldn’t find any suggestion.

2IE-1876-119, Le voilier
Eng.: sailing ship. Berson omits this work, which means there were no reviews (R90II,p39). As a very uncertain suggestion I render: 18xx, Marine, 30×46, A2016/06/08 (iR13;R2,p261).

2IE-1876-120, Bateau à sec
Eng.: dry boat. Berson omits this work, which means there were no reviews (R90II,p39). Lepic depicted many boats on the beach (at low tide), see no.112. As a very uncertain suggestion I render: 18xx, Retour de pêche à Dieppe, 130×89, A2007/12/07 (iR13;R2,p162).

2IE-1876-121, Le charpentier
Eng.: the carpenter. I couldn’t find any suggestion.

2IE-1876-122, La plage
Eng.: the beach. Berson omits this work, which means there were no reviews (R90II,p39). Lepic depicted many beaches, namely at Berck, see also no. 105 and no. 112. As a very incertain option I render: 18xx, The beach at Berck, xx, MdF Berck.

2IE-1876-123, Le chantier de Cayeux
Eng.: the construction site. Berson omits this work, which means there were no reviews (R90II,p39).

2IE-1876-124, Pompeï (5 aquarelles d’après nature)
5 watercolours of Pompeï. Berson refers to the review of Blémont and E.F. (R90II,p39). Blémont just mentions it (R90I,p63), Enault writes about the restorations of Pompeï’ (R90I,p83), E.F. writes about ‘ruines’ (R90I,p84). I couldn’t find watercolours depicting Pompeï. So I render an etch to compare: 18xx, Ruines en Italie, etch, xx, BNF Paris (iR40), this work also depicts a ruin.

2IE-1876-125, Le quai Sancte Lucia à Naples (aquarelle)
Berson omits this work, which means there were no reviews (R90II,p39). There is a quarter called Sancte Lusia in Naples with a wharf / quay / boulevard along the bay of Napels. This scene is depicted (from on high) by Lepic in the following oil painting made in 1862, which I will render to compare: 1862, La baie de Naples par temps clair, 94×128, A1997/12/05 (iR13). Compare also: 1IE-1874-76, Golfe de Naples, aquarelle and: S1875-2498, Le golfe de Naples, vu du cours Victor-Emmanuel; aquarelle. And also: S1875-2497, Le port de Santa-Lucia (Naples); aquarelle

2IE-1876-126, Filets (2 aquarelles)
2 watercolours of nets. Berson omits this work, which means there were no reviews (R90II,p39). Lepic often depicted fishing nets. But I couldn’t find a watercolour. So to compare I render this etch: 1869, Marée basse avec filets séchant, etch, 21×32, BNF Paris (iR40;iR23). Compare: S1872-1007, Filets étendus; aquarelle. See also the works I suggest for no.132 and no.136.

2IE-1876-127, Barque échouée (baie de Somme) (2 aquarelles)
2 watercolours of stranded boats. Berson omits this work, which means there were no reviews (R90II,p39). Lepic often depicted stranded boats. Compare: 1877-79ca, Plage de Berck, au pliant (barques de pêche échouées sur la plage de Berck), 74×93 MdF Berck (iRx;iR6;iR35;iR313;M202 a work I suggest for no.112); and: 18xx, Barque échouée sur une plage, 60×90, A2013/10/04 (iR13;iR11; a work I suggest for no.109); and: 18xx, Bateau français échoué sur la plage, 20×38, A2018/01/17 (iR17; Former collection of Delannoy). This last work I render to compare, because I couldn’t find any watercolours depicting stranded boats.

2IE-1876-128, Falaises du Tréport (aquarelle)
Eng.: Cliffs at Tréport, watercolour. Berson refers to the review of E.F. (R90II,p39), who just mentions the work (R90I,p84). I couldn’t find a watercolour depicting cliffs, so I render an etch to compare: 1870, Falaise du Nord, avec pavillon-signal , etch, 12×23, BM London (iR105;M181).

2IE-1876-129, Soleil en mer
Eng.: sun on the sea. Berson omits this work, which means there were no reviews (R90II,p39). Note, that it is mentioned among watercolours, so maybe this is a watercolour to. I couldn’t find a suggestion. Compare: SdAF-1888-3286, Soleil sur la mer du Nord; aquarelle.

2IE-1876-130, L’église de Cayeux (aquarelle)
Eng.: the church at Cayeux, watercolour. Berson omits this work, which means there were no reviews (R90II,p39). I couldn’t find a work depicting a church.

2IE-1876-131, Barque Napolitaine (aquarelle)
Eng.: Berson omits this work, which means there were no reviews (R90II,p39). I couldn’t find a watercolour depicting a boat (from Napoli).

2IE-1876-132, Les souterrains du port de Naples (aquarelle)
Eng.: The undergrounds of the port of Naples (watercolour). Berson omits this work, which means there were no reviews (R90II,p39). I like to refer to: 1871, A fisherman’s grotto (Naples), gouache, 27×38, A2015/07/08 (iR11;iR14;iR13;iR41); and: 18xx, Grotta con pescatori, xx, A2010/05/19 (iR13), two works I suggest for S1875-2499.

2IE-1876-133, Fontaine à la Cava, prés de Naples (aquarelle)
Eng.: Fountain at Cava, near Naples (watercolour). Berson omits this work, which means there were no reviews (R90II,p39). I couldn’t find any work that comes close.

2IE-1876-134, La balade des pendus (eau forte) ; Appartient à M. Arsène Houssaye
Eng.: the song of the hanging man. Moffett refers to the Cabinet des Estampes, Berson is more specific: 1869, 13×28, etch, BNF (R90II,p39+56). Berson refers to the review of Blémont (R90II,p39), who makes clear it represents a scene from a work by Théodore de Banville (R90I,p63). See also Beraldi (R85IX,p143,no3)

2IE-1876-135, Croquis Hollandais (2 cadres eaux fortes)
Note: this number contains 2 frames with etchings depicting studies made in Holland. So it seems to contain at least 4 etchings. Berson refers to the review of E.F. (R90II,p39), who writes about ‘mysterious landscapes’ (R90I,p84). Compare: S1870-5260, Neuf gravures à l’eau-forte; même numéro: Vues de Hollande. When the etchings exhibited in 1870 were also exhibited as no.135 and no. 136, this would mean no. 135 contained 2×4=8 etchings. I render 8 uncertain options, the ones dated are more sure. See also Beraldi (R85IX,p143,no4).

2IE-1876-136, Canal en Hollande, lever de lune (eau forte)
Eng.: canal in Holland, rising of the moon (etch). Berson refers to the review of E.F. (R90II,p40), but he doesn’t seem to explicitly refer to this work. Berson suggests Vue des bords de l’Escaut: Lever de lune, etch, 46×82, Baltimore MA (R90II,p40+56). Compare Beraldi ‘Paysages sur l’Escaut’ (R85IX,p143,no4). But the Scheldt (l’Escaut) lies in Belgium, not in Holland and is a river, not a canal. At the same time in 1876 Lepic exhibited at the Salon: ‘S1876-3903, Trois eaux-fortes: Paysages des bords de l’Escaut’ and I assume the work Berson suggests, more probably was exhibited at the Salon. The only source that Berson mentions is a conversation with Eric Denker (R90II,p40). I think a better (but still very uncertain) suggestion is: 18xx, Moonlit landscape with nets in the foreground, hanging from a tree, etch, xx, Orsay (iR127;M1;M5). I will also render the suggestion of Berson to compare.

2IE-1876-137, Tête de chien, épreuve tirée sur plaque sans gravure
Eng.: Head of a dog, print on plate without engraving. Berson suggests a monotype, 30×28, Baltimore MA (R90II,p40+56). Berson refers to the review of Rivière (R90II,p40), who doesn’t describe the work, but mentioned that Lepic used a procedure he had invented (R90I,p71). Note: Beraldi sums up 15 heads of dogs (R85IX,p143,no1).

 

 

Vicomte Ludovic Napoléon Lepic at the Salon:
The Salon database indicates that Lepic was born in Paris. From 1863-68 the address given is Palais du Louvre. From 1869+70 ‘chez M. Souty, rue du Louvre, 8’. In 1872- ‘chez M. Poignant, quai du Louvre, 18’. In 1873 ‘chez M. Carpentier, rue Halévy, 6’. From 1874+75 ‘rue de Larochefoucauld, 46’. 1876-83: Rue de Maubeuge, 25. 1884+85: cité Malesherbes, 5. 1886: ‘chez M. Mary, rue Captal, 26’. His teachers are Charles Verlat, le baron Wappers, Gleyre and 1874 onwards also of Cabanel. He exhibits ‘exempté’ in 1882-86. Lepic also exhibited in 1887 + 88. (iR1)

 

Overview:
in total  Lepic exhibited 64 works at the Salon, of which 11x watercolours, 1 gouache, 3x pastel, 7x etchings, 4 drawings and 2x decorative panel.

  • 26x indication of place
  • 7x indication of time, season or weather
  • 3x a study
  • 7x loan (appartient à…):

S1863-2688, Tête de chien, d’après une esquisse de Géricault ; eau forte
Mentioned by Beraldi (R85IX,p143,no1).

S1863-2689, Tête de chien courant de Vendée, d’après M. Jadin ; eau forte.
Eng.: Head of a Vendée hound (see info and pictures). Mentioned by Beraldi (R85IX,p143,no1). ??? Probably: 1861, Jupiter (after Jadin), etch, 32×24, ENSBA (iR127;R90II,p23+8) = the same as: 1IE-1874-80, Jupiter, portrait de chien, eau-forte. 

S1863-2690, Pas commode ! d’après M. Jadin ; eau forte
Eng.: Not convenient!. It renders a ‘portrait du dogue de Delessert’ and is made on one of his biggest plates (aR3,p94; Eng.: portrait of Delessert’s great dane; see info and pictures). Note: Gérôme made a portrait of Edouard Delessert, see.

S1864-2936, Etude de chien, d’après M. Jadin ; eau-forte
Additional info: (Voir à la Peinture)

S1865-1336, Le château de la misère (M. Théophile Gauthier, le capitaine Fracasse)

S1866-1211, Armurier du temps de Charles IX
Eng.: Armourer at the time of Charles IX.

S1867- 1900, Etude de forge ; dessin
Eng.: Study of a blacksmith.

S1868-1559, Pilier de halle.
Eng.: Pillar of the hall. Pothey renders an etch and calls his two exhibited works ‘lively, brilliant, full of vitality and vigour and drawn with great care.’ (R265,no15=iR40). Note: the etch has many similarities with this work: 1868, Le Pilier des Halles, 210×170, Md Grenoble (iR23). The size and the title of this work makes it a serious option to have been exhibited. Is the etch less accurate, or did Lepic paint 2 largely identical works?

S1868-1560, L’auberge de Jean Stern, à Leyde.
Additional info: (Voir aux Dessins, etc.). Pothey renders an etch and calls his two exhibited works ‘lively, brilliant, full of vitality and vigour and drawn with great care.’ (R265,no15=iR40)

S1868-3047, La pièce démontée ; dessin
Additional info: (Voir à la Peinture). Now: 1867, La Pièce perdue (La Pièce démontée), wc, 90×115, Md Grenoble (iR23). Note the difference between ‘drawing’ in the catalogue and watercolour.

S1869-1504, Le roi des Landes.

S1869-1505, Finis coronat opus.

S1870-1736, *Le gué.
Eng.: The ford. Nl.: Doorwaadbare plaats.

S1870-1737, *Die Sieger, les vainqueurs ; chiens ayant la cocarde.
Eng.: the winners; dogs with a roundel. Nl.: honden met een gekleurde insigne / rozet / lintje.

S1870-3714, Le Destin ; dessin
Compare this etch with the same title: 1869, Le Destin, etch, xx, BNF (iR40). Compare Beraldi ‘Le Destin (une chouette)’ (R85IX,p143,no2).

S1870-3715, *Neuf dessins ; même numéro : Vues prises au bord de la mer à Puy (Seine-Inférieure).
North of Dieppe lies Puys close to the Canal and in the region Seine-Inférieure.

S1870-5259, Griffon d’Ecosse portant sa chasse accrochée dans ses poils ; Gravure
Eng.: Scottish Griffon with its hunt clutched in its hair. Compare the work Beraldi mentions ‘Griffon d’Ecosse portant au cou les souris de sa chasse’ (R85IX,p143,no1; Eng.: Schotse Griffioen met muizen om zijn nek.

S1870-5260, Neuf gravures à l’eau-forte ; même numéro : Vues de Hollande .
Compare: 2IE-1876-135, Croquis Hollandais (2 cadres eaux fortes) and: 2IE-1876-136, Canal en Hollande, lever de lune (eau forte).

S1872-1006, Un philosophe sans le savoir.

S1872-1007, Filets étendus; aquarelle
Eng.: Extended nets. Compare: 2IE-1876-126, Filets (2 aquarelles).

S1873-942, Tentation.
Eng.: Temptation.

S1874-1185, Printemps
Additional info: (Appartient à Mme J. André)

S1874-1186, Le déluge; triptyque (voir Dessins)
Eng.: The flood; triptych. Probably: 1874, Le déluge (the great flood), panneau de triptyque 2, MdF Berck (iRx;M202;iR1); and: 1874, Le déluge (the great flood), panneau de triptyque, MdF Berck (iRx;iR1;M202).

S1874-2317, Les fossés du château du Bailleul ; aquarelle
Eng.: The ditches of the Château du Bailleul. Nl: De grachten.

S1874-2318, Au bord de la forêt ; aquarelle

S1874-2319, A Cayeux (Somme) ; aquarelle

S1875-1345, Pêche de nuit au chien de mer.
Eng.: Night fishing with a dogfish. Probably: 1875, Pêche de nuit au chien de mer (Night fishing with a dogfish), 132×152, Nantes MBA (M16;iR23;iR1).

S1875-1346, Bateau boulonais
(Voir Dessins)

S1875-2497, Le port de Santa-Lucia (Naples); aquarelle
Additional info: Dessins, cartons, aquarelles, pastels, miniatures, vitraux, émaux, porcelaines, faïences. Compare: 2IE-1876-125, Le quai Sancte Lucia à Naples (aquarelle).

S1875-2498, Le golfe de Naples, vu du cours Victor-Emmanuel; aquarelle
Additional info: Dessins, cartons, aquarelles, pastels, miniatures, vitraux, émaux, porcelaines, faïences. Eng.: The Gulf of Naples, seen from the Cours Victor-Emmanuel; watercolour. Compare: 1IE-1874-76, Golfe de Naples, aquarelle; and: 2IE-1876-125, Le quai Sancte Lucia à Naples (aquarelle). To compare I render: 1862, La baie de Naples par temps clair, 94×128, A1997/12/05 (iR13;R2,p121;R90II,p8;iR1).

S1875-2499, Cabane de pêcheurs, à Torre del Greco (Italie); aquarelle
Additional info: (Voir Peinture). Dessins, cartons, aquarelles, pastels, miniatures, vitraux, émaux, porcelaines, faïences. Eng.: Fisherman’s hut… As an uncertain option I render: 1871, A fisherman’s grotto (Naples), gouache, 27×38, A2015/07/08 (iR11;iR14;iR13;iR41;iR1;R2,p162). To compare I also render: 18xx, Grotta con pescatori (Cave with fishermen), xx, A2010/05/19 (iR13;iR1;R2,p162). Compare also: 2IE-1876-132, Les souterrains du port de Naples (aquarelle).

S1876-1297, Le quai de Bercy inondé, le 16 mars 1876.

S1876-1298, Le calme dans la baie de Somme
Additional info: (Voir Gravure). To compare I render a work that was probably made a bit later: 1888ca, Baie de Somme, le matin, 89×51, A2012/03/30 (iR11;iR13;iR1;R2,p162), this work also depicts a calmness. Compare also: 2IE-1876-107, Bateaux de la baie de Somme.

S1876-3903, Trois eaux-fortes: Paysages des bords de l’Escaut
Additional info: (Voir Peinture). Eng.: Landscapes on the banks of the Scheldt. Probably 3 of his 24 etchings of the River Scheldt, in which he rendered the several times of day (R85XI,p144=aR2;R88). I render two options: 1870-76ca, (View of the banks of the Scheldt) Sunrise, etch, 45×80, Baltimore MA (iRx;iR1;R90II,p56;R85IX,p143,no4;M24); and: 1870-76ca, Vue des bords de l’Escaut; lever de lune, etch, 46×82, Baltimore MA (R90II,p56+40;R2,p162;R85IX,p143,no4;iR1;M24). Compare also: 1IE-1876-136, Canal en Hollande, lever de lune (eau forte).

S1877-1329, Bateau cassé
Receives a ‘médaille de 3e classe’ (iR4). Now: 1877ca, The Smashed Boat, 17×25, MdF Berck (aR4=M202;iR6;iR35;iR4;iR1). Compare: 2IE-1876-108, Un brisant (étude).

S1877-1330, Tempête .
Eng.: Stormy weather. Maybe: 1877, SDbr, Fishing boats returning to Berck, 127×246, PBA Lille (iR6;iR35;iR23;iR127;iR1;M17). Note: the work is dated, rather big and depicts stormy weather.

S1878-1415, Le départ; marée haute.
Compare no. 1416.

S1878-1416, Le retour; marée basse.
Additional info: (Voir Dessins). Now: 1878ca, Le retour (Départ pour la pêche à Berck; Bateaux à marée basse à Berck), 126×217, MBA Valenciennes (iR2;iR23;iR1;R87,p239;M201). Note: the different titles. Compare also no. 1415.

S1878-3337, Un chien; pastel
Maybe: 18xx, Jack, pastel, 75×51, A2007/06/22 (iR11;iR15;iR41;iR1).

S1878-3338, Moïse sur le Nil ; … Et le voile du temple se déchira !… Le semeur d’ivraie ; gouaches
Additional info: (Voir Peinture). Eng.: Moses on the Nile; … And the veil of the temple was torn!… The sower of tares / chaff / weeds. The second work is probably: 1873, Golgotha, the temple veil is torn, gouache, 35×22, A2016/05/04 (iR11;iR1).

S1879-1898, La pêche au hareng d’Ecosse par les bateaux de Berck .
Eng.: Fishing on Scottish herring by the boats of Berck. =1878, La pêche aux harengs d’Ecosse par les barques de Berck, 129×216, MBA Reims (iR23). Bought in 1879 by the government (iR23).

S1879-1899, La Vierge de Grosfliers, à Berck (Pas-de-Calais).

SdAF-1880- 2288, La banquise de la Loire, à Saumur; janvier 1880 ;
Additional info: H. 2m,30.- L. 3m,20. Eng.: The ice-pack…

SdAF-1880-2289, Le retour ;
Additional info: H. 2m,00.L. 2m,60. Le cercueil du Prince Impérial est transbordé de l’Orente à l’Enchanteresse. Portsmouth, 11 juillet 1879. Compare: Goupil, 18xx, The return (after Lepic), xx, MNCh Compiègne (iR127;iR1;M200)

SdAF-1880- 5219, Marquise; pastel ;
Additional info: Appartient à Mme de Pont-Jest.

SdAF-1880- 5220, Madou; pastel ;
Additional info: Appartient à M. Febvre, de la Comédie-Française

SdAF-1881-1425, Alerte; Berck, octobre 1879.

SdAF-1881-1426, Plage de Berck; panneau décoratif ;
Additional info: Appartient à Mme la comtesse X*** Note: the same title as: SdAF-1887- 1490. Compare: 2IE-1876-105, La plage de Berck.

SdAF-1882- 1650, Mer calme devant Boulogne ;
Additional info: Appartient à M. Millot ; voir n° 1651

SdAF-1882-1651, Effet de brouillard dans les mers du Nord ;
Additional info: Appartient à M. Millot ; voir n° 1650. Maybe: 1880, Effet de brouillard, xx, MdF Berck (iRx;iR1;R2,p162;M202) . Compare: 2IE-1876-103, Effet de brouillard en mer.

SdAF-1883- 1491, L’inondation de la Seine, à Chatou en 1883.

SdAF-1883- 1492, Sortie des bateaux à la marée; Berck .
Eng.: Departure of the boats at the tide; Berck.

SdAF-1884-1505, Le “Vaisseau fantôme,” ou le “Voltigeur Hollandais.

SdAF-1884-1506, Combat d’Ouessant ; 1778
Additional info: Le comte du Chaffault, monté sur la Couronne et commandant l’avant-garde, triomphe du Victory et du Terrible. Son fils fut tué près de lui et lui-même grièvement blessé.

SdAF-1885- 1559, *La rentrée du pilote.
Eng.: The return of the pilot.

SdAF-1885- 1560, *“Pare à virer !”
Eng.: “Ready to fire!”.

SdAF-1886- 1460, Bateaux normands ;
Additional info: (Appartient à M. Quévremont)

SdAF-1886- 3067, Canal, près Rotterdam ; aquarelle ;
Additional info: (Appartient à M. G. Vibert)

SdAF-1886-3068, Barque de Boulogne ; aquarelle

SdAF-1887- 1490, La plage de Berck ; panneau décoratif ;
(Appartient à M. Paul Blanchet) ; Peinture. Note: the same title as: SdAF-1881- 1426.

SdAF-1887- 3166, La bouée; nord de Cayeux ;
(Dessins, cartons, aquarelles, pastels, miniatures, vitraux, émaux, porcelaines, faïences). Eng.: The buoy, north of Cayeux. Compare: 2IE-1876-113, La Bouée No 2, baie de Somme.

SdAF-1887- 3167, Chrysanthèmes ;
(Dessins, cartons, aquarelles, pastels, miniatures, vitraux, émaux, porcelaines, faïences)

SdAF-1888- 1608, Les reines du château et du village de Cressol, à Saint-Peray (Ardèche) ;
(Appartient à Mme la duchesse d’Uzès)

SdAF-1888- 3285, Cayeux vu d’un bateau ; aquarelle

SdAF-1888-3286, Soleil sur la mer du Nord; aquarelle
Compare: 2IE-1876-129, Soleil en mer

 

Recommanded citation: “Ludovic-Napoléon Lepic, an account of his exhibited art-works. Last modified 2022/07/13.  https://www.impressionism.nl/lepic-account/